‘Version’

Mark Ronson

“Treat others as you would like to be treated.” “I get by with a little help from my friends.” These are just a taste of the colloquialisms by which we abide in our sweet collegiate state, and on Mark Ronson’s new project, the turn-tablist-turned-high-profile-producer solidifies these euphemisms as his M.O. and manages to blow everyone away in the process.

“Version” is a deeply soulful and spirited array of re-worked tracks featuring the Ronson flavor and his close circle of friends, relying heavily on British bombshells such as Kasabian, Robbie Williams, Kenna, and Maximo Park.

In working with the historical Brooklyn-based Daptone horn ensemble, Ronson brings new and energetic light to some of our generation’s biggest hits, including an instrumental variety show-like adaptation of Coldplay’s “God Put A Smile On Your Face,” a dub-style smattering of Radiohead’s “Just” and a seamless posthumous interlude by Ol’ Dirty Bastard on Britney Spears’ “Toxic.” Ronson even works magic on this album to an extent where bitter rivals Lily Allen and Amy Winehouse can calmly coexist, as Winehouse shines on a stellar re-interpretation of The Zutons’ “Valerie” and Allen brings a sultry side to the Kaiser Chiefs’ “Oh My God.”

If you took the innovative funk of Gnarls Barkley’s “St. Elsewhere” away from its fantasy-based storylines, applied a Motown-bred backing band, and don’t mind dancing to unlikely and lively sing-a-longs, you’ll be excellently excited by “Version.”

Verdict: An alternate Version that’s an uncontested winner.

‘The Stage Names’

Okkervil River

On the title track of their last album, Okkervil River frontman Will Sheff opened the LP beckoning for someone to “see the shine in the Black Sheep Boy.” On their latest release, “The Stage Names,” Sheff takes his signature self-loathing to the big screen in a major key on a much grander opening track, “Our Life is Not a Movie, or Maybe.” Just as you think you’ve settled into another indie rock pity party, you suddenly realize the band’s become a little boastful with a track along the lines of “You Can’t Hold the Hand of a Rock and Roll Man.”

It seems on the Texas-based band’s latest effort, they’ve shed the majority of their shyness and sensitivity for the rambling rhythms and rich and complementary instrumental arrangements of bells, tambourines, slide guitar, horns and strings found on their last full-length. Sheff’s earnest and angst-filled vocals continue to propel Okkervil River into the same organic emo echelon as Bright Eyes and Neutral Milk Hotel, but it’s the band’s tremendous growth and vulnerability that will keep people hooked for the long run.

“The Stage Names” is promising because it opens up a world of possibilities for Okkervil River. Whether it’s the Southwest swagger of “Unless It’s Kicks,” dim Delta blues piano on “A Girl in Port” or the impeccably beautiful rise and fall of “Plus Ones,” the Black Sheep Boy has bravely found his shine.

Verdict: Short in length but heavy in heart, Okkervil River’s growth is impressive.

‘Combinations’

Eisley

They were supposed to be cute. They have yet to reach their 20s. They were certainly enchanting —- the young quintet of siblings-and-best-friend from the heart of Texas finding their way through the big bad, often evil world of pop music. On Eisley’s latest effort, it seems as if the DuPree family traded in their once-endearing ticket to “Trolleywood” for toll money on the Highway to Hell.

The angelic harmonies of sisters Sherri and Stacy DuPree are now addled with attitude over fairly graphic lyrics about mortality, insanity, and insecurity. On less experimental tracks such as “Go Away” and “Come Clean,” they could be reaching for the same clarity and cachet of neo-folk femme fatales Kathleen Edwards and Lucinda Williams. However, on what are surely intended to be their “darker” turns, songs such as “Many Funerals” and “Invasion” almost recall cheap Warped Tour chanteuses Meg and Dia. Standout track “Ten Cent Blues” is a sure winner for airplay or mix tapes, but the sun doesn’t shine for long on this new album.

Despite its schizoid tendencies, you have to hand it to Eisley for staying true to heart. “Combinations” is a demonstration of outgrowing adolescence, and every teenager has been through that volatile roller coaster of “I love you/I hate you/Who am I.” Now, we know for certain that things tend to get really sour once you immortalize it in the recording studio.

Verdict: Good if you feel like growing with Eisley, awful if you feel otherwise.

- Sami Promisloff